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Have you tried other violin varnish formulas as well as C37? Reading about them, it would seem they might work just as well or even better than C37 in certain applications.Another thing to try with ERS tweaking - Distance. If something sounds to damped when covered with ERS, give it some space - a 1/2 inch stand-off can do the trick. Also I found that tightly wrapping the ERS around things like cables and tone arms may not work, but when I make a tube of the stuff with an inch or so in diameter it sounds great and works even better at cancelling out noise from things.
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Hi,Remember, C37 Laquer originated in research into Violin laquers, but it is not too similar to generic Violin Laquer.
Ciao T
There are only a handful of possible ingredients so the only differences would be one of percentage... C37 is used a as violin lacquer isn't it ?
Hi,> There are only a handful of possible ingredients
Are you sure?
> so the only differences would be one of percentage...
Maybe. Maybe not. Make up pur own mind and stop guessing would be my suggestion.
> C37 is used a as violin lacquer isn't it ?
No, there is also violin laquer that incorperates the same principles, but it is likely again a different formulation.
As for violin laquers, there are many possible fundamental laquers, including "classic" natural ones and modern polymers.
Ciao T
> There are only a handful of possible ingredientsAre you sure?
Yes, absolutely sure. Of course, there may be possible hands with a great number of fingers... thus a handful could potentially be a large number of ingredients, extraterrestrial hands for example...but judging from the aroma, the viscosity, color, drying behavior it has all the traits of an organic tree rosin origin varnish in a semi-polyemrized vegetable oil carrier...
> so the only differences would be one of percentage...
Maybe. Maybe not. Make up pur own mind and stop guessing would be my suggestion.
It is my nature to keep guessing. Since the experiments with the diamond powders + C37 yielded good results in certain applications, we now contemplate the basic C37 and the "post C37" technologies. Lucky for me I didn't get into fullerene additives and poison myself.
I'm also considering metal additives, such as superfine silver flake for added mass when that might help.> C37 is used a as violin lacquer isn't it ?
No, there is also violin laquer that incorperates the same principles, but it is likely again a different formulation.
So what are all those Ennenmoser C37 violins painted with ?
As for violin laquers, there are many possible fundamental laquers, including "classic" natural ones and modern polymers
If you want a metal powder to add mass, buy some powdered tungsten from your local golf supply or a specialist such as THP.Tungsten powder has the highest "tap density" of anything available under $100 an ounce. As with most powders the tap density is about 60% of bulk density so a good quality powder will get you about 11 kg/dm^3. This means you can get the density of a resin paste up to nearly 12, better than the bulk density of lead. The best you can do with silver is around 6.
As usual you also need to consider propagation velocity (C). The tungsten composite will still have a reasonably high value of C (somewhere near 3600 m/s) but the silver will be quite low. Of course you can always increase C by mixing in some of your diamond powder.
another long and winding road... silver has a nice essential tone and a decent density. The design goal is closer to spectral shaping than pure vibration elimination. Brass has often been cited as having a desirable spectral response, Mapleshade offers a selection of brass cones, dampers, and the like based on their opinion that brass has the best perceived sound of all metallic or ceramic damping options. Silver may be yet superior but not considered as a commercially viable choice. Silver does have a distinct, musical resonant peak. Even large ingots of silver have a sweet, bright sound when dropped. A fascinating possibility is that a lacquer coating such as C37 which is inherently euphonic could be "tuned" by a careful mixture of diamond, metal and/or mineral powders, tungsten carbide... the major hurdle with super heavy particles like W or WC is that they won't stay suspended. Keeping diamond in suspension is difficult enough. I was thinking that a large surface area silver micro flake would have a better chance of staying up.
haven't tried other violin varnishes, have located a maker of top quality painter's varnish... in the old masters sense, haven't applied it to anything yet... there was a large traditional overlap between the formulas for painters and instrument varnishes... one really weird idea I'm thinking about is the use of micronized Leonardite... Leonardite is a form of shale that is found over coal... it was once the sap of great conifers that was squeezed out and floated above the lignins then fossilized. The stuff can act as an amazing fertilizer booster when tiny quantities are suspended in water. I have made Leonardite colloids by putting small pieces of it in an ultrasonic cleaner with pure water and letting micro particles break free... it is curious in that it is insoluble but when it comes in contact with clay forming particles it changes their electrical surface charges so they don't stick together and form gummy soils.... chemically Leonardites are simple phenolic biopolymers... that started life off as the same resinous substances that copals, ambers, mastics and other basic elements of varnish came from. I'm very curious what a small addition of Leonardite dust would do to the tones....
Obviously, we are missing the key ingredient, seasoning the finish with Ted Nugent and Linkin Park. See link below!
This is the same stuff sold as collodial minerals isn't it?I think the key still lies in the resonant properties of the ground, hence your diamond dust. I think pumice (the traditional ground ingredient) might be just the ticket for what I am working on.
It well may be. I know that I have a happy houseplant after it got its' dose. The raw material is not overly dense, hard, insoluble in water, make a light clack sound when shaken (about 3/8 inch pieces) against itself, more mineralized than tree resins... there is also an interesting transitional carbon that is mined in Alaska called Jet that was popular in victorian era inexpensive jewelery, physically like pyrolytic graphite, a stage between an amorphous carbon and coal. You could make yourself a small ball mill with a rock tumbler and some heavy bearings and reduce it to a dust... I haven't seen pyro graphite powder on the market. The slabs are obscenely expensive.... then again, there was one site that sold "DU" (depleted uranium) squares about 4"x4" for $3,500 each... mildly radioactive, no home should be without several....
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